Separation of high and low production

The market for novels in the nineteenth century was clearly separated into "high" and "low" production. The new high production can best be viewed in terms of national traditions. The low production was organized rather by genres in a pattern deriving from the spectrum of seventeenth- and eighteenth-century genres.

1. The novel as a literary production, promoted by critical discourse

Spanish Literature French Literature German Literature English Literature …by language and nation


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2. Popular Fiction, not promoted by criticism

1
The modern roman à clef (a recent example is Primary Colors) 2
Sex, including soft "romantic" pornography for the female audience 3
Historical settings (the tradition of heroic romances), crime (the tradition of the seventeenth century novel) 4
Adventure, science fiction 5
Espionage, conspiracy

The position of authors attained its modern form with the establishment of this pattern. The modern author can either aim at a broad market or write with an eye to serious critical discussion. The borders between the realms have developed differently in different nations. While this modern market divide came relatively late to the English-speaking world, Germany and France had an earlier and much stronger interest in creating national literatures — France in the wake of the French Revolution, Germany during its mid-19th century unification. Both of these nations experienced a division between high literature — that is, the literature of ruling social group,[3] discussed in schools and newspapers, and celebrated in public life — and a low production — not worthy to be mentioned in such circles — while the vast commercial market of the English-speaking world still resisted this artificial divide.

The novel proved to be a medium for a communication both intimate (novels can be read privately whereas plays are always a public event) and public (novels are published and thus become a matter touching the public, if not the nation, and its vital interests), a medium of a personal point of view which can get the world into its view. New modes of interaction between authors and the public reflected these developments: authors giving public readings, receiving prestigious prizes, giving interviews in the media and acting as their nations' consciences. This concept of the novelist as public figure arose in the course of the nineteenth century.